Karolina Kazmierska is an artist creating site-specific light installations and cut out images. She was born in Konin(Poland) in 1981.
In 2009, Kazmierska graduated from the MFA Fine Arts program at École Nationale Supérieure des Beaux Artsin Lyon, in France. Her works have been exhibited at the Museum of Art inToulon (France), during Vrrrr Festival, at Armory Spring Break Art Show, and at NARS Foundation in New York City, during Fête des Lumières in Lyon, Salon of Montrouge. She has also shown her work individually in Galeria Krytyków Pokaz, in Warsaw (curated by Elżbieta Dzikowska) and Galeria Wschodnia in Łódź and in other galleries in Paris, Lyon,Grenoble, Hannover, and Berlin.
Karolina Kazmierska’s artwork is about the power of images. But it is not that simple. Newspaper pictures directly influence our understanding of world events. They talk a lot to us by delivering a strong message. The flux of press photos makes us become passive spectators. In the abundance of pictures, image controls our way of thinking:sometimes we are totally indifferent, but sometimes completely fascinated. That’s why the artist takes them out of their context and plays with them: she cuts them out from some points of view, she destroys them. But in a paradoxical way, she offers tous a second lecture: the geometric forms create a new rhythm and keep our attention on the subject. The shining lines guide our eyes to details that we have not seen before. A smile, a regard, a person in a corner. It’s like a magic trick: the images seem to appear in a new dimension. Their political meaning is even stronger than before. Our imagination increases their significance.
Karolina Kazmierska reminds us that images are an instrumental propaganda weapon and that we have to be careful of our way of seeing.
For Lab47, Karolina Kazmierska proposesan installation in situ.
The title of the exhibition “And the transparent depths / Reflected their futile shapes” is a verse from AdamMickiewicz’s poem Above the vast, clear depths.
A large size picture occupies the wall inthe background and its double lies on the floor as a reflection. All around the top of the walls of the first room, the cut out images of a Chinese athlete punctuate the space. This dancing frieze is an inspiration of Polish traditional craft: “the cuttings are inspired by traditional craft art practiced in certain Polish regions. Polish women prepare "cacka" during important festivals to decorate their houses. The cutting patterns are geometric. They create a repetitive decorative style”.
So, as we enter the Lab47, we face photography of forest and river, which is a reference to the Romantic scenery. The white lights break the image and confuse our vision. The radiance does not come from the sun but from the electric tubes which diffuse their brightness all around the space. In front of this show of artificial nature, our mind escapes. We plunge into a shining contemplation.
How can the images be used to promote a political thought? That’s also a question that KarolinaKazmierska asks us but never in a judgmental way. She just opens the door of a new dimension of perception and lets us have our own opinion. The landscape is definitely an image of nations' power. It represents the greatness of a nation,which finds in nature a fantasy reflection of itself. The pattern of the installation evokes the Romantic Movement and works as a transposition of European symbolism (codes, norms, topic, and references) to an Oriental context.
“I like this thought that we are all connected together like a twist”, she said.
And the dialogue of images operates: the athlete, the landscape, the light, and the confusion. The signs combined amplify the significance.
For the opening, Karolina Kazmierska invites Chinese sound artist Cao Xiaoyang to make a musical performance. Xiaoyang will remix a Mazurka of Frederic Chopin, with electronic music. As a dialogue between cultures and times, his music will take us elsewhere.